Maria Callas
Maria Callas, Commendatore OMRI1 (Greek: Μαρία Κάλλας; December 2, 1923 – September 16, 1977), was an American-born Greek soprano and one of the most renowned and influential opera singers of the 20th century. Critics praised her bel canto technique, wide-ranging voice and dramatic interpretations. Her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini andRossini and further, to the works of Verdi and Puccini; and, in her early career, to the music dramas of Wagner. Her musical and dramatic talents led to her being hailed as La Divina. Born in New York City and raised by an overbearing mother, she received her musical education in Greece and established her career in Italy. Forced to deal with the exigencies of wartime poverty and with myopia that left her nearly blind onstage, she endured struggles and scandal over the course of her career. She turned herself from a heavy woman into a svelte and glamorous one after a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas's allegedly temperamental behavior, her supposed rivalry withRenata Tebaldi and her love affair with Aristotle Onassis. Although her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press, her artistic achievements were such that Leonard Bernstein called her "the Bible of opera"2 and her influence so enduring that, in 2006, Opera News wrote of her: "Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists."3 Contents hide * 1 Early life ** 1.1 Family life, childhood and move to Greece ** 1.2 Deteriorating relationship with her mother * 2 Education * 3 Early operatic career in Greece * 4 Main operatic career ** 4.1 Italy, Meneghini, and Serafin ** 4.2 I puritani and path to bel canto ** 4.3 Important debuts * 5 Weight loss * 6 Voice ** 6.1 The Callas sound ** 6.2 Vocal category ** 6.3 Vocal size and range ** 6.4 Vocal registers * 7 Artistry ** 7.1 The musician ** 7.2 The actress ** 7.3 The artist * 8 Callas–Tebaldi controversy * 9 Vocal decline ** 9.1 Fussi and Paolillo report * 10 Scandals and later career * 11 Onassis and the final years * 12 Legacy * 13 Notable recordings * 14 References * 15 External links Early lifeedit Family life, childhood and move to Greeceedit The apartment house in Athens where Callas lived from 1937 to 1945 According to her birth certificate, Maria Callas was born Sophia Cecelia Kalos4 at Flower Hospital (now the Terence Cardinal Cooke Health Care Center), at 1249 Fifth Avenue in Manhattan, on December 2, 19235 to Greek parents George Kalogeropoulos and Evangelia "Litsa" (sometimes "Litza") Dimitriadou, though she was christened Anna Maria Sofia Cecilia Kalogeropoulou (Greek: Aννα Μαρία Σοφία Καικιλία Καλογεροπούλου)—the genitive of the patronymic Kalogeropoulos. Callas's father had shortened the surname Kalogeropoulos first to "Kalos" and subsequently to "Callas" in order to make it more manageable.4 George and Evangelia were an ill-matched couple from the beginning; he was easy-going and unambitious, with no interest in the arts, while his wife was vivacious and socially ambitious, and had held dreams of a life in the arts for herself.4 The situation was aggravated by George's philandering and was improved neither by the birth of a daughter, named Yakinthi (later called Jackie), in 1917 nor the birth of a son, named Vassilis, in 1920. Vassilis's death from meningitis in the summer of 1922 dealt another blow to the marriage. In 1923, after realizing that Evangelia was pregnant again, George made the unilateral decision to move his family to America, a decision which Yakinthi recalled was greeted with Evangelia "shouting hysterically" followed by George "slamming doors".4 The family left for New York in July 1923, moving first into an apartment in Astoria, Queens. Evangelia was convinced that her third child would be a boy; her disappointment at the birth of another daughter was so great that she refused to even look at her new baby for four days.4 Maria was christened three years later at the Archdiocesan Cathedral of the Holy Trinity in 1926.6 When Maria was 4, George Callas opened his own pharmacy, settling the family in Manhattan on 192nd Street in Washington Heightswhere Callas grew up. Around the age of three, Maria's musical talent began to manifest itself, and after Evangelia discovered that her youngest daughter also had a voice, she began pressing "Mary" to sing. Callas later recalled, "I was made to sing when I was only five, and I hated it."4 George was unhappy with his wife favoring their elder daughter, as well as the pressure put upon young Mary to sing and perform.7 The marriage continued to deteriorate and in 1937 Evangelia decided to return to Athens with her two daughters.4 Deteriorating relationship with her motheredit Callas's relationship with Evangelia continued to erode during the years in Greece, and in the prime of her career, it became a matter of great public interest, especially after a 1956 cover story in Time magazine which focused on this relationship and later, by Evangelia's book My Daughter – Maria Callas. In public, Callas blamed the strained relationship with Evangelia on her unhappy childhood spent singing and working at her mother's insistence, saying, In 1957, she told Norman Ross, "Children should have a wonderful childhood. I have not had it – I wish I had."9 On the other hand, biographer Petsalis-Diomidis asserts that it was actually Evangelia's hateful treatment of George in front of their young children which led to resentment and dislike on Callas's part.4 According to both Callas's husband and her close friend Giulietta Simionato, Callas related to them that her mother, who did not work, pressed her to "go out with various men", mainly Italian and German soldiers, to bring home money and food during the Axis occupation of Greece during World War II. Simionato was convinced that Callas "managed to remain untouched", but Callas never forgave Evangelia for what she perceived as a kind of prostitution forced on her by her mother.4 In an attempt to patch things up with her mother, Callas took Evangelia along on her first visit to Mexico in 1950, but this only reawakened the old frictions and resentments, and after leaving Mexico, the two never met again.10 After a series of angry and accusatory letters from Evangelia lambasting Callas's father and husband, Callas ceased communication with her mother altogether.10 Educationedit Callas received her musical education in Athens. Initially, her mother tried to enroll her at the prestigious Athens Conservatoire, without success. At the audition, her voice, still untrained, failed to impress, while the conservatoire's directorFiloktitis Oikonomidis refused to accept her without her satisfying the theoretic prerequisites (solfege). In the summer of 1937, her mother visited Maria Trivella at the younger Greek National Conservatoire, asking her to take Mary, as she was then called, as a student for a modest fee. In 1957, Trivella recalled her impression of "Mary, a very plump young girl, wearing big glasses for her myopia": Maria Callas with her teacher Elvira de Hidalgo in 1954 Trivella agreed to tutor Callas completely, waiving her tuition fees, but no sooner had Callas started her formal lessons and vocal exercises than Trivella began to feel that Callas was not acontralto, as she had been told, but a dramatic soprano. Subsequently, they began working on raising the tessitura of her voice and to lighten its timbre.4 Trivella recalled Callas as: : A model student. Fanatical, uncompromising, dedicated to her studies heart and soul. Her progress was phenomenal. She studied five or six hours a day. ...Within six months, she was singing the most difficult arias in the international opera repertoire with the utmost musicality.4 On April 11, 1938, in her public debut, Callas ended the recital of Trivella's class at the Parnassos music hall with a duet from Tosca.4 Callas recalled that Trivella: : had a French method, which was placing the voice in the nose, rather nasal... and I had the problem of not having low chest tones, which is essential in bel canto... And that's where I learned my chest tones.11 However, when interviewed by Pierre Desgraupes (fr) on the French program L'invitée du dimanche, Callas attributed the development of her chest voice not to Trivella, but to her next teacher, the Spanish coloratura soprano Elvira de Hidalgo.12 Callas studied with Trivella for two years before her mother secured another audition at the Athens Conservatoire with de Hidalgo. Callas auditioned with "Ocean, Thou Mighty Monster" fromWeber's Oberon. De Hidalgo recalled hearing "tempestuous, extravagant cascades of sounds, as yet uncontrolled but full of drama and emotion".4 She agreed to take her as a pupil immediately, but Callas's mother asked de Hidalgo to wait for a year, as Callas would be graduating from the National Conservatoire and could begin working. On April 2, 1939, Callas undertook the part of Santuzza in a student production of Mascagni's Cavalleria rusticana at the Olympia Theatre, and in the fall of the same year she enrolled at the Athens Conservatoire in Elvira de Hidalgo's class.4 In 1968, Callas told Lord Harewood, De Hidalgo later recalled Callas as "a phenomenon... She would listen to all my students, sopranos, mezzos, tenors... She could do it all."13 Callas herself said that she would go to "the conservatoire at 10 in the morning and leave with the last pupil ... devouring music" for 10 hours a day. When asked by her teacher why she did this, her answer was that even "with the least talented pupil, he can teach you something that you, the most talented, might not be able to do."14 Early operatic career in Greeceedit After several appearances as a student, Callas began appearing in secondary roles at the Greek National Opera. De Hidalgo was instrumental in securing roles for her, allowing Callas to earn a small salary, which helped her and her family get through the difficult war years.4 Callas made her professional debut in February 1941, in the small role of Beatrice in Franz von Suppé's Boccaccio.4 Soprano Galatea Amaxopoulou, who sang in the chorus, later recalled, "Even in rehearsal, Maria's fantastic performing ability had been obvious, and from then on, the others started trying ways of preventing her from appearing."4 Fellow singer Maria Alkeou similarly recalled that the established sopranos Nafsika Galanou and Anna (Zozó) Remmoundou "used to stand in the wings while Callas was singing and make remarks about her, muttering, laughing, and point their fingers at her".4 Despite these hostilities, Callas managed to continue and made her debut in a leading role in August 1942 as Tosca, going on to sing the role of Marta in Eugen d'Albert's Tiefland at the Olympia Theatre. Callas's performance as Marta received glowing reviews. Critic Spanoudi declared Callas "an extremely dynamic artist possessing the rarest dramatic and musical gifts", and Vangelis Mangliveras evaluated Callas's performance for the weekly To Radiophonon: Following these performances, even Callas's detractors began to refer to her as "The God-Given".4 Some time later, watching Callas rehearse Beethoven's Fidelio, erstwhile rival soprano Anna Remoundou asked a colleague, "Could it be that there is something divine and we haven't realized it?"4 Following Tiefland, Callas sang the role of Santuzza in Cavalleria rusticana again and followed it with O Protomastoras (el) (Manolis Kalomiris) at the ancient Odeon of Herodes Atticustheatre at the foot of the Acropolis. During August and September 1944, Callas performed the role of Leonore in a Greek language production of Fidelio, again at the Odeon of Herodes Atticus.4 German critic Friedrich Herzog, who witnessed the performances, declared Leonore Callas's "greatest triumph":4 After the liberation of Greece, de Hidalgo advised Callas to establish herself in Italy. Callas proceeded to give a series of concerts around Greece, and then, against her teacher's advice, she returned to America to see her father and to further pursue her career. When she left Greece on September 14, 1945, two months short of her 22nd birthday, Callas had given 56 performances in seven operas and had appeared in around 20 recitals.4 Callas considered her Greek career as the foundation of her musical and dramatic upbringing, saying, "When I got to the big career, there were no surprises for me."15 Main operatic careeredit After returning to the United States and reuniting with her father in September 1945, Callas made the round of auditions.4 In December of that year, she auditioned for Edward Johnson, general manager of the Metropolitan Opera, and was favorably received: "Exceptional voice—ought to be heard very soon on stage".4 Callas maintained that the Met offered her Madama Butterfly and Fidelio, to be performed in Philadelphia and sung in English, both of which she declined, feeling she was too fat for Butterfly and did not like the idea of opera in English.15 Although no written evidence of this offer exists in the Met's records,10 in a 1958 interview with The New York Post, Johnson corroborated Callas's story: "We offered her a contract, but she didn't like it—because of the contract, not because of the roles. She was right in turning it down—it was frankly a beginner's contract."4 Italy, Meneghini, and Serafinedit The Villa in Sirmione where Callas lived with Giovanni Battista Meneghini between 1950 and 1959 In 1946, Callas was engaged to re-open the opera house in Chicago as Turandot, but the company folded before opening. Basso Nicola Rossi-Lemeni, who also was to star in this opera, was aware thatTullio Serafin was looking for a dramatic soprano to cast as La Gioconda at the Arena di Verona. He later recalled the young Callas as being "amazing—so strong physically and spiritually; so certain of her future. I knew in a big outdoor theatre like Verona's, this girl, with her courage and huge voice, would make a tremendous impact."16 Subsequently he recommended Callas to retired tenor and impresarioGiovanni Zenatello. During her audition, Zenatello became so excited that he jumped up and joined Callas in the Act 4 duet.7 It was in this role that Callas made her Italian debut. Upon her arrival in Verona, Callas met Giovanni Battista Meneghini, an older, wealthy industrialist, who began courting her. They married in 1949, and he assumed control of her career until 1959, when the marriage dissolved. It was Meneghini's love and support that gave Callas the time needed to establish herself in Italy,16 and throughout the prime of her career, she went by the name of Maria Meneghini Callas. After La Gioconda, Callas had no further offers, and when Serafin, looking for someone to sing Isolde, called on her, she told him that she already knew the score, even though she had looked at only the first act out of curiosity while at the conservatory.15 She sight-read the opera's second act for Serafin, who praised her for knowing the role so well, whereupon she admitted to having bluffed and having sight-read the music.15 Even more impressed, Serafin immediately cast her in the role.15 Serafin thereafter served as Callas's mentor and supporter. According to Lord Harewood, "Very few Italian conductors have had a more distinguished career than Tullio Serafin, and perhaps none, apart from Toscanini, more influence".14 In 1968, Callas recalled that working with Serafin was the "really lucky" opportunity of her career, because "he taught me that there must be an expression; that there must be a justification. He taught me the depth of music, the justification of music. That's where I really really drank all I could from this man".11 I puritani and path to bel cantoedit The great turning point in Callas's career occurred in Venice in 1949.17 She was engaged to sing the role of Brünnhilde in Die Walküre at the Teatro la Fenice, when Margherita Carosio, who was engaged to sing Elvira in I puritani in the same theatre, fell ill. Unable to find a replacement for Carosio, Maestro Serafin told Callas that she would be singing Elvira in six days; when Callas protested that she not only did not know the role, but also had three more Brünnhildes to sing, he told her "I guarantee that you can.".14 Michael Scott's words, "the notion of any one singer embracing music as divergent in its vocal demands as Wagner's Brünnhilde and Bellini's Elvira in the same career would have been cause enough for surprise; but to attempt to essay them both in the same season seemed like folie de grandeur".10 Before the performance actually took place, one incredulous critic snorted, "We hear that Serafin has agreed to conduct I puritani with a dramatic soprano... When can we expect a new edition of La traviata with baritone Gino Bechi's Violetta?"10 After the performance, one critic wrote, "Even the most sceptical had to acknowledge the miracle that Maria Callas accomplished... the flexibility of her limpid, beautifully poised voice, and her splendid high notes. Her interpretation also has a humanity, warmth and expressiveness that one would search for in vain in the fragile, pellucid coldness of other Elviras."18 Franco Zeffirelli recalled, "What she did in Venice was really incredible. You need to be familiar with opera to realize the enormity of her achievement. It was as if someone asked Birgit Nilsson, who is famous for her great Wagnerian voice, to substitute overnight for Beverly Sills, who is one of the great coloratura sopranos of our time."13 Scott asserts that "Of all the many roles Callas undertook, it is doubtful if any had a more far-reaching effect."10 This initial foray into the bel canto repertoire changed the course of Callas's career and set her on a path leading to Lucia di Lammermoor, La traviata, Armida, La sonnambula, Il pirata, Il turco in Italia, Medea and Anna Bolena, and reawakened interest in the long-neglected operas of Cherubini, Bellini, Donizetti and Rossini.1316 In the words of soprano Montserrat Caballé, As with I puritani, Callas also learned and performed Cherubini's Medea, Giordano's Andrea Chénier and Rossini's Armida on a few days' notice.1619 Throughout her career, Callas displayed her vocal versatility in recitals that pitched dramatic soprano arias alongside coloratura pieces, including in a 1952 RAI recital in which she opened with Lady Macbeth's "letter scene", followed by the "Mad Scene" from Lucia di Lammermoor, then Abigaille's treacherous recitative and aria from''Nabucco'', finishing with the "Bell Song" from Lakmé capped by a ringing high E in alt (E6).19 Important debutsedit Although by 1951, Callas had sung at all the major theatres in Italy, she had not yet made her official debut at Italy's most prestigious opera house, Teatro alla Scala in Milan. According to composer Gian-Carlo Menotti, Callas had substituted for Renata Tebaldi in the role of Aida in 1950, and La Scala's general manager, Antonio Ghiringhelli, had taken an immediate dislike to Callas.13 Menotti recalls that Ghiringhelli had promised him any singer he wanted for the premiere of The Consul, but when he suggested Callas, Ghiringhelli said that he would never have Callas at La Scala except as a guest artist. However, as Callas's fame grew, and especially after her great success in I vespri siciliani in Florence, Ghiringhelli had to relent: Callas made her official debut at La Scala in Verdi's I vespri siciliani on opening night in December 1951, and this theatre became her artistic home throughout the 1950s.13 La Scala mounted many new productions specially for Callas by directors such as Herbert von Karajan, Margherita Wallmann, Franco Zeffirelli and, most importantly, Luchino Visconti.16 Visconti stated later that he began directing opera only because of Callas,20 and he directed her in lavish new productions of La vestale, La traviata, La sonnambula, Anna Bolena and Iphigénie en Tauride. Callas was notably instrumental in arranging Franco Corelli's debut at La Scala in 1954, where he sang Licinio in Spontini's La vestale opposite Callas's Julia. The two had sung together for the first time the year previously in Rome in a production of Norma. Anthony Tommasini wrote that Corelli had "earned great respect from the fearsomely demanding Callas, who, in Mr Corelli, finally had someone with whom she could act."21 The two collaborated several more times at La Scala, singing opposite each other in productions of Fedora (1956), Il pirata (1958) and Poliuto (1960). Their partnership continued throughout the rest of Callas's career.22 The night of the day she married Meneghini in Verona, she sailed for Argentina to sing at the Teatro Colón in Buenos Aires. Callas made her South American debut in Buenos Aires on May 20, 1949, during the European summer opera recess.Aida, Turandot and Norma roles were directed by Tullio Serafin, supported by Mario Del Monaco, Fedora Barbieri and Nicola Rossi-Lemeni. It was her only appearance on this world renowned stage. Her debut in America was five years later in Chicago in 1954, and "with the Callas Norma, Lyric Opera of Chicago was born."23 Her Metropolitan Opera debut, opening the Met's seventy-second season on October 29, 1956, was again with Norma,24 but was preceded with an unflattering cover story in Time magazine, which rehashed all of the Callas clichés, including her temper, her supposed rivalry with Renata Tebaldi and especially her difficult relationship with her mother.717 As she had done with Lyric Opera of Chicago, on November 21, 1957, Callas gave a concert to inaugurate what then was billed as the Dallas Civic Opera, and helped establish that company with her friends from Chicago, Lawrence Kelly and Maestro Nicola Rescigno.25 She further consolidated this company's standing when, in 1958, she gave "a towering performance as Violetta in La traviata, and that same year, in her only American performances of Medea, gave an interpretation of the title role worthy of Euripides."26 In 1958, a feud with Rudolf Bing led to Callas's Metropolitan Opera contract being cancelled. Impresario Allen Oxenburg realised that this situation provided him with an opportunity for his own company, the American Opera Society, and he accordingly approached her with a contract to perform Imogene in Il pirata. She accepted and sang the role in a January 1959 performance that according to opera critic Allan Kozinn "quickly became legendary in operatic circles".27 Bing and Callas later reconciled their differences, and she returned to the house in 1965 to sing the title role in two performances as Tosca opposite Franco Corelli as Cavaradossi for one performance (March 19, 1965) and Richard Tucker (March 25, 1965) with Tito Gobbi as Scarpia for her final performances at the Met. In 1952, she made her London debut at the Royal Opera House in Norma with veteran mezzo-soprano Ebe Stignani as Adalgisa, a performance which survives on record and also features the young Joan Sutherland in the small role of Clotilde.19 Callas and the London public had what she herself called "a love affair",7 and she returned to the Royal Opera House in 1953, 1957, 1958, 1959, and 1964 to 1965.16 It was at the Royal Opera House where, on July 5, 1965, Callas ended her stage career in the role of Tosca, in a production designed and mounted for her by Franco Zeffirelli and featuring her friend and colleague Tito Gobbi.16 Weight lossedit In the early years of her career, Callas was a heavy and full-figured woman; in her own words, "Heavy—one can say—yes I was; but I'm also a tall woman, 5' 8½" centimeters, and I used to weigh no more than 200 pounds kilograms."15 Tito Gobbi relates that during a lunch break while recording Lucia in Florence, Serafin commented to Callas that she was eating too much and allowing her weight to become a problem. When she protested that she wasn't so''heavy, Gobbi suggested she should "put the matter to test" by stepping on the weighing machine outside the restaurant. The result was "somewhat dismaying, and she became rather silent."28 In 1968, Callas told Edward Downes that during her initial performances in Cherubini's ''Medea in May 1953, she realized that she needed a leaner face and figure to do dramatic justice to this as well as the other roles she was undertaking. She adds, During 1953 and early 1954, she lost almost 80 pounds (36 kg), turning herself into what Maestro Rescigno called "possibly the most beautiful lady on the stage".13 Sir Rudolf Bing, who remembered Callas as being "monstrously fat" in 1951, stated that after the weight loss, Callas was an "astonishing, svelte, striking woman" who "showed none of the signs one usually finds in a fat woman who has lost weight: she looked as though she had been born to that slender and graceful figure, and had always moved with that elegance."29 Various rumors spread regarding her weight loss method; one had her swallowing a tapeworm, while Rome's Panatella Mills pasta company claimed she lost weight by eating their "physiologic pasta", prompting Callas to file a lawsuit.10 Callas stated that she lost the weight by eating a sensible low-calorie diet of mainly salads and chicken.15 Some believe that the loss of body mass made it more difficult for her to support her voice, triggering the vocal strain that became apparent later in the decade (see vocal decline), while others believed the weight loss effected a newfound softness and femininity in her voice, as well as a greater confidence as a person and performer.16 Tito Gobbi said, "Now she was not only supremely gifted both musically and dramatically—she was a beauty too. And her awareness of this invested with fresh magic every role she undertook. What it eventually did to her vocal and nervous stamina I am not prepared to say. I only assert that she blossomed into an artist unique in her generation and outstanding in the whole range of vocal history."28 Voiceedit The Callas soundedit Callas's voice was and remains controversial; it bothered and disturbed as many as it thrilled and inspired.1619 Walter Legge stated that Callas possessed that most essential ingredient for a great singer: an instantly recognizable voice.30During "The Callas Debate", Italian critic Rodolfo Celletti stated, "The timbre of Callas's voice, considered purely as sound, was essentially ugly: it was a thick sound, which gave the impression of dryness, of aridity. It lacked those elements which, in a singer's jargon, are described as velvet and varnish... yet I really believe that part of her appeal was precisely due to this fact. Why? Because for all its natural lack of varnish, velvet and richness, this voice could acquire such distinctive colours and timbres as to be unforgettable."31 However, in his review of Callas's 1951 live recording of I vespri siciliani, Ira Siff writes, "Accepted wisdom tells us that Callas possessed, even early on, a flawed voice, unattractive by conventional standards—an instrument that signaled from the beginning vocal problems to come. Yet listen to her entrance in this performance and one encounters a rich, spinning sound, ravishing by any standard, capable of delicate dynamic nuance. High notes are free of wobble, chest tones unforced, and the middle register displays none of the "bottled" quality that became more and more pronounced as Callas matured."32 Nicola Rossi-Lemeni relates that Callas's mentor Tullio Serafin used to refer to her as "Una grande vociaccia"; he continues, "Vociaccia is a little bit pejorative—it means an ugly voice—but grande means a big voice, a great voice. A great ugly voice, in a way."33 Callas herself did not like the sound of her own voice; in one of her last interviews, answering whether or not she was able to listen to her own voice, she replies, Maestro Carlo Maria Giulini has described the appeal of Callas's voice: Vocal categoryedit Callas's voice has been difficult to place in the modern vocal classification or Fach system, especially since in her prime, her repertoire contained the heaviest dramatic soprano roles as well as roles usually undertaken by the highest, lightest and most agile coloratura sopranos. Regarding this versatility, Maestro Tullio Serafin said, "This woman can sing anything written for the female voice".7 Michael Scott argues that Callas's voice was a natural high soprano,10 and going by evidence of Callas's early recordings, Rosa Ponselle likewise felt that "At that stage of its development, her voice was a pure but sizable dramatic coloratura—that is to say, a sizable coloratura voice with dramatic capabilities, not the other way around."35 On the other hand, music critic John Ardoin has argued that Callas was the reincarnation of the 19th century soprano sfogato or "unlimited soprano", a throwback to Maria Malibran and Giuditta Pasta, for whom many of the famousbel canto operas were written. He avers that like Pasta and Malibran, Callas was a natural mezzo-soprano whose range was extended through training and willpower, resulting in a voice which "lacked the homogeneous color and evenness of scale once so prized in singing. There were unruly sections of their voices never fully under control. Many who heard Pasta, for example, remarked that her uppermost notes seemed produced by ventriloquism, a charge which would later be made against Callas".16 Ardoin points to the writings of Henry Fothergill Chorley about Pasta which bear an uncanny resemblance to descriptions of Callas: Callas herself appears to have been in agreement not only with Ardoin's assertions that she started as a natural mezzo-soprano, but also saw the similarities between herself and Pasta and Malibran. In 1957, she described her early voice as: "The timbre was dark, almost black—when I think of it, I think of thick molasses", and in 1968 she added, "They say I was not a true soprano, I was rather toward a mezzo".4 Regarding her ability to sing the heaviest as well as the lightest roles, she told James Fleetwood, Vocal size and rangeedit Callas's range in performance (highest and lowest notes both shown in red): from F-sharp below the Middle C (green) to E-natural above the High C (blue) Regarding the sheer size of Callas's instrument, Celletti says, "Her voice was penetrating. The volume as such was average: neither small nor powerful. But the penetration, allied to this incisive quality (which bordered on the ugly because it frequently contained an element of harshness) ensured that her voice could be clearly heard anywhere in the auditorium."31Rodolfo Celletti wrote that Callas had "a voluminous, penetrating, and dark voice" ("una voce voluminosa, squillante e di timbro scuro").37 After her first performance of Medea in 1953, the critic for Musical Courier wrote that "she displayed a vocal generosity that was scarcely believable for its amplitude and resilience."18 In a 1982 Opera News interview withJoan Sutherland and Richard Bonynge, Bonynge stated, "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top."38 In his book, Michael Scott makes the distinction that whereas Callas's pre-1954 voice was a "dramatic soprano with an exceptional top", after the weight loss, it became, as one Chicago critic described the voice in Lucia,18 a "huge soprano leggiero".10 In performance, Callas's vocal range was just short of three octaves, from F-sharp (F♯3) below middle C (C4) heard in "Arrigo! Ah parli a un core" from I vespri siciliani to E-natural (E6) above high C (C6), heard in the aria "Mercè, dilette amiche" in the final act of the same opera, as well as in Rossini's Armida and Lakmé's Bell Song. Whether or not Callas ever sang a high F-natural in performance has been open to debate. After her June 11, 1951 concert in Florence, Rock Ferris of''Musical Courier'' said, "Her high E's and F's are taken full voice."18 Although no definite recording of Callas singing high F's have surfaced, the presumed E-natural at the end of Rossini's Armida—a poor-quality bootleg recording of uncertain pitch—has been referred to as a high F by Italian musicologists and critics Eugenio Gara and Rodolfo Celletti.31 Callas expert Dr. Robert Seletsky, however, stated that since the finale of Armida is in the key of E, the final note could not have been an F, as it would have been dissonant. Author Eve Ruggieri has referred to the penultimate note in "Mercè, dilette amiche" from the 1951 Florence performances of I vespri siciliani as a high F;39 however, this claim is refuted by John Ardoin's review of the live recording of the performance as well as by the review of the recording in Opera News, both of which refer to the note as a high E-natural.1932 In a 1969 French television interview with Pierre Desgraupes on the program L'invitée du dimanche, maestro Francesco Siciliani speaks of Callas's voice going to high F (he also talk about her lower register extending to C3), but within the same program, Callas's teacher, Elvira de Hidalgo, speaks of the voice soaring to a high E-natural but does not mention a high F; meanwhile, Callas herself remains silent on the subject, neither agreeing nor disagreeing with either claim.12 Vocal registersedit Callas's voice was noted for its three distinct registers: Her low or chest register was extremely dark and almost baritonal in power, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos.3031 Her middle register had a peculiar and highly personal sound—"part oboe, part clarinet", as Claudia Cassidy described it16—and was noted for its veiled or "bottled" sound, as if she were singing into a jug.30 Walter Legge attributed this sound to the "extraordinary formation of her upper palate, shaped like a Gothic arch, not the Romanesque arch of the normal mouth".30 The upper register was ample and bright, with an impressive extension above high C, which—in contrast to the light flute-like sound of the typical coloratura, "she would attack these notes with more vehemence and power—quite differently therefore, from the very delicate, cautious, 'white' approach of the light sopranos."31Legge adds, "Even in the most difficult fioriture there were no musical or technical difficulties in this part of the voice which she could not execute with astonishing, unostentatious ease. Her chromatic runs, particularly downwards, were beautifully smooth and staccatos almost unfailingly accurate, even in the trickiest intervals. There is hardly a bar in the whole range of nineteenth century music for high soprano that seriously tested her powers."30 And as she demonstrated in the finale of La sonnambula on the commercial EMI set and the live recording from Cologne, she was able to execute a diminuendo on the stratospheric high E-flat, which Scott describes as "a feat unrivaled in the history of the gramophone."10 Regarding Callas's soft singing, Celletti says, "In these soft passages, Callas seemed to use another voice altogether, because it acquired a great sweetness. Whether in her florid singing or in her canto spianato, that is, in long held notes without ornamentation, her mezza-voce could achieve such moving sweetness that the sound seemed to come from on high ... I don't know, it seemed to come from the skylight of La Scala."31 This combination of size, weight, range and agility was a source of amazement to Callas's own contemporaries. One of the choristers present at her La Scala debut in I vespri siciliani recalled, "My God! She came on stage sounding like our deepest contralto, Cloe Elmo. And before the evening was over, she took a high E-flat. And it was twice as strong as Toti Dal Monte's!"16 In the same vein, mezzo-soprano Giulietta Simionato said: "The first time we sang together was in Mexico in 1950, where she sang the top E-flat in the second-act finale of Aida. I can still remember the effect of that note in the opera house—it was like a star!"40 For Italian soprano Renata Tebaldi, "the most fantastic thing was the possibility for her to sing the soprano coloratura with this big voice! This was something really special. Fantastic absolutely!"13 Callas's vocal registers, however, were not seamlessly joined; Walter Legge writes, "Unfortunately, it was only in quick music, particularly descending scales, that she completely mastered the art of joining the three almost incompatible voices into one unified whole, but until about 1960, she disguised those audible gear changes with cunning skill."30 Rodolfo Celletti states, As to whether these troublesome spots were due to the nature of the voice itself or to technical deficiencies, Celletti says: "Even if, when passing from one register to another, Callas produced an unpleasant sound, the technique she used for these transitions was perfect."31 Musicologist and critic Fedele D'Amico adds, "Callas's 'faults' were in the voice and not in the singer; they are so to speak, faults of departure but not of arrival. This is precisely Celletti's distinction between the natural quality of the voice and the technique."31 In 2005, Ewa Podleś said of Callas, "Maybe she had three voices, maybe she had three ranges, I don't know—I am a professional singer. Nothing disturbed me, nothing! I bought everything that she offered me. Why? Because all of her voices, her registers, she used how they should be used—just to tell us something!"41 Eugenio Gara states, "Much has been said about her voice, and no doubt the discussion will continue. Certainly no one could in honesty deny the harsh or "squashed" sounds, nor the wobble on the very high notes. These and others were precisely the accusations made at the time against Pasta and Malibran, two geniuses of song (as they were then called), sublime, yet imperfect. Both were brought to trial in their day. ... Yet few singers have made history in the annals of opera as these two did."31 Artistryedit Callas's own thoughts regarding music and singing can be found at Wikiquote. The musicianedit Though adored by many opera enthusiasts, Callas was a controversial artist. While Callas was the great singer often dismissed simply as an actress42 she considered herself first and foremost "a musician, that is, the first instrument of the orchestra."11 Grace Bumbry states, "If I followed the musical score when she was singing, I would see every tempo marking, every dynamic marking, everything being adhered to, and at the same time, it was not antiseptic; it was something that was very beautiful and moving." 43 Maestro Victor de Sabata confided to Walter Legge, "If the public could understand, as we do, how deeply and utterly musical Callas is, they would be stunned",30 and Maestro Tullio Serafin assessed Callas's musicality as "extraordinary, almost frightening."44 Callas possessed an innate architectural sense of line-proportion16 and an uncanny feel for timing and for what one of her colleagues described as "a sense of the rhythm within the rhythm".4 Regarding Callas's technical prowess, Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato, trills, half-trills, gruppetti, scales, etc."31 D'Amico adds, "The essential virtue of Callas's technique consists of supreme mastery of an extraordinarily rich range of tone colour (that is, the fusion of dynamic range and timbre). And such mastery means total freedom of choice in its use: not being a slave to one's abilities, but rather, being able to use them at will as a means to an end."31 While reviewing the many recorded versions of "perhaps Verdi's ultimate challenge", the aria "D'amor sull'ali rosee" from Il Trovatore, Richard Dyer writes, In addition to her musical skills, Callas had a particular gift for language and the use of language in music.30 In recitatives, she always knew which word to emphasize and which syllable in that word to bring out.16 Michael Scott notes, "If we listen attentively, we note how her perfect legato enables her to suggest by musical means even the exclamation marks and commas of the text."10 Technically, not only did she have the capacity to perform the most difficult florid music effortlessly, but also she had the ability to use each ornament as an expressive device rather than for mere fireworks.41 Soprano Martina Arroyo states, "What interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something—it was never just singing notes. That alone is an art."41 Walter Legge states that, The actressedit Regarding Callas's acting ability, vocal coach and music critic Ira Siff remarked, "When I saw the final two Tosca''s she did in the old Met, I felt like I was watching the actual story on which the opera had later been based."46 Callas was not, however, a realistic or verismo style actress:10 her physical acting was merely "subsidiary to the heavy ''Kunst of developing the psychology of the roles under the supervision of the music, of singing the acting... Suffering, delight, humility, hubris, despair, rhapsody—all this was musically appointed, through her use of the voice flying the text upon the notes."42 Seconding this opinion, verismo specialist soprano Augusta Oltrabella said, "Despite what everyone says, Callas was an actress in the expression of the music, and not vice versa."4748 Mathew Gurewitsch adds, Ewa Podleś likewise stated that "It's enough to hear her, I'm positive! Because she could say everything only with her voice! I can imagine everything, I can see everything in front of my eye."41 Opera director Sandro Sequi, who witnessed many Callas performances close-up, states, "For me, she was extremely stylized and classic, yet at the same time, human—but humanity on a higher plane of existence, almost sublime. Realism was foreign to her, and that is why she was the greatest of opera singers. After all, opera is the least realistic of theater forms... She was wasted in verismo roles, even Tosca, no matter how brilliantly she could act such roles."16 Scott adds, "Early nineteenth-century opera... is not merely the antithesis of reality, it also requires highly stylized acting. Callas had the perfect face for it. Her big features matched its grandiloquence and spoke volumes from a distance."10 In regard to Callas's physical acting style, Nicola Rescigno states, "Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In La traviata, everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In Medea, everything was angular. She'd never make a soft gesture; even the walk she used was like a tiger's walk."50 Sandro Sequi recalls, "She was never in a hurry. Everything was very paced, proportioned, classical, precise... She was extremely powerful but extremely stylized. Her gestures were not many... I don't think she did more than 20 gestures in a performance. But she was capable of standing 10 minutes without moving a hand or finger, compelling everyone to look at her."16 Edward Downes recalled Callas watching and observing her colleagues with such intensity and concentration as to make it seem that the drama was all unfolding in her head.15 Sir Rudolf Bing similarly recalled that in Il trovatore in Chicago, "it was Callas's quiet listening, rather than Björling's singing that made the dramatic impact... He didn't know what he was singing, but she knew."29 Callas herself stated that, in Opera, Acting must be based on the Music, quoting Maestro Tullio Serafin's advice to her: The artistedit Callas's most distinguishing quality was her ability to breathe life into the characters she portrayed,16 or in the words of Matthew Gurewitsch, "Most mysterious among her many gifts, Callas had the genius to translate the minute particulars of a life into tone of voice."49 Italian critic Eugenio Gara adds: Ethan Mordden writes, "It was a flawed voice. But then Callas sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. They were literally defects of her voice; she bent them into advantages of her singing."42 Maestro Giulini believes, "If melodrama is the ideal unity of the trilogy of words, music, and action, it is impossible to imagine an artist in whom these three elements were more together than Callas."10 He recalls that during Callas's performances of La traviata, "reality was onstage. What stood behind me, the audience, auditorium, La Scala itself, seemed artifice. Only that which transpired on stage was truth, life itself."16 Sir Rudolf Bing expressed similar sentiments: To Maestro Antonino Votto, Callas was Callas–Tebaldi controversyedit Renata Tebaldi-1961 During the early 1950s, controversy arose regarding a supposed rivalry between Callas and Renata Tebaldi, an Italian lyrico spinto soprano.16 The contrast between Callas's often unconventional vocal qualities and Tebaldi's classically beautiful sound resurrected an argument as old as opera itself, namely, beauty of sound versus the expressive use of sound.1631 In 1951, Tebaldi and Maria Callas were jointly booked for a vocal recital in Rio de Janeiro, Brazil. Although the singers agreed that neither would perform encores, Tebaldi took two, and Callas was reportedly incensed.51 This incident began the rivalry, which reached a fever pitch in the mid-1950s, at times even engulfing the two women themselves, who were said by their more fanatical followers to have engaged in verbal barbs in each other's direction. Tebaldi was quoted as saying, "I have one thing that Callas doesn't have: a heart"7 while Callas was quoted in Time magazine as saying that comparing her with Tebaldi was like "comparing Champagne with Cognac. No, with Coca Cola."52 However, witnesses to the interview stated that Callas only said "champagne with cognac", and it was a bystander who quipped, "No, with Coca-Cola", but the Time reporter attributed the latter comment to Callas.7 According to John Ardoin, however, these two singers should never have been compared.16 Tebaldi was trained by Carmen Melis, a noted verismo specialist, and she was rooted in the early 20th century Italian school of singing just as firmly as Callas was rooted in 19th century bel canto.16 Callas was a dramatic soprano, whereas Tebaldi considered herself essentially a lyric soprano. Callas and Tebaldi generally sang a different repertoire: in the early years of her career, Callas concentrated on the heavy dramatic soprano roles and later in her career on the bel canto repertoire, whereas Tebaldi concentrated on late Verdi and verismo roles, where her limited upper extension31 and her lack of a florid technique were not issues.16 They shared a few roles, including Tosca in Puccini's opera and La Gioconda, which Tebaldi performed only late in her career. The alleged rivalry aside, Callas made remarks appreciative of Tebaldi, and vice versa. During an interview with Norman Ross in Chicago, Callas said, "I admire Tebaldi's tone; it's beautiful—also some beautiful phrasing. Sometimes, I actually wish I had her voice." Francis Robinson of the Met wrote of an incident in which Tebaldi asked him to recommend a recording of La Gioconda in order to help her learn the role. Being fully aware of the alleged rivalry, he recommended Zinka Milanov's version. A few days later, he went to visit Tebaldi, only to find her sitting by the speakers, listening intently to Callas's recording. She then looked up at him and asked, "Why didn't you tell me Maria's was the best?"53 Callas visited Tebaldi after a performance of Adriana Lecouvreur at the Met in 1968, and the two were reunited. In 1978, Tebaldi spoke warmly of her late colleague and summarized this rivalry: Vocal declineedit Several singers have opined that the heavy roles undertaken in her early years damaged Callas's voice.47 The mezzo-soprano Giulietta Simionato, Callas's close friend and frequent colleague, stated that she told Callas that she felt that the early heavy roles led to a weakness in the diaphragm and subsequent difficulty in controlling the upper register.54 Louise Caselotti, who worked with Callas in 1946 and 1947, prior to her Italian debut, felt that it was not the heavy roles that hurt Callas's voice, but the lighter ones.4 Several singers have suggested that Callas's heavy use of the chest voiceled to stridency and unsteadiness with the high notes.47 In his book, Callas's husband Meneghini wrote that Callas suffered an unusually early onset of menopause, which could have affected her voice. Soprano Carol Neblett once said, "A woman sings with her ovaries—you're only as good as your hormones."42 Critic Henry Pleasants has stated that it was a loss of physical strength and breath-support that led to Callas's vocal problems, saying, In the same vein, Joan Sutherland, who heard Callas throughout the 1950s, said in a BBC interview, Michael Scott has proposed that Callas's loss of strength and breath support was directly caused by her rapid and progressive weight loss,10 something that was noted even in her prime. Of her 1958 recital in Chicago, Robert Detmer wrote, "There were sounds fearfully uncontrolled, forced beyond the too-slim singer's present capacity to support or sustain."18 Photos and videos of Callas during her heavy era show a very upright posture with the shoulders relaxed and held back. On all videos of Callas from the period after her weight loss, "we watch... the constantly sinking, depressed chest and hear the resulting deterioration".57 This continual change in posture has been cited as visual proof of a progressive loss of breath support.1041 Commercial and bootleg recordings of Callas from the late 1940s to 1953—the period during which she sang the heaviest dramatic soprano roles—show no decline in the fabric of the voice, no loss in volume and no unsteadiness or shrinkage in the upper register.19 Of her December 1952 Lady Macbeth—coming after five years of singing the most strenuous dramatic soprano repertoire—Peter Dragadze wrote for Opera, "Callas's voice since last season has improved a great deal, the second passagio on the high B-natural and C has now completely cleared, giving her an equally colored scale from top to bottom."16 And of her performance of Medea a year later, John Ardoin writes, "The performance displays Callas in as secure and free a voice as she will be found at any point in her career. The many top B's have a brilliant ring, and she handles the treacherous tessitura like an eager thoroughbred."19 Walter Legge, c. 1960 In recordings from 1954 (immediately after her 80-pound weight loss) and thereafter, "not only would the instrument lose its warmth and become thin and acidulous, but the altitudinous passages would to her no longer come easily."10 It is also at this time that unsteady top notes first begin to appear.19 Walter Legge, who produced nearly all of Callas's EMI/Angel recordings, states that Callas "ran into a patch of vocal difficulties as early as 1954": during the recording of La forza del destino, done immediately after the weight loss, the "wobble had become so pronounced" that he told Callas they "would have to give away seasickness pills with every side".30 There were others, however, who felt that the voice had benefitted from the weight loss. Of her performance of Norma in Chicago in 1954, Claudia Cassidy wrote that "there is a slight unsteadiness in some of the sustained upper notes, but to me her voice is more beautiful in color, more even through the range, than it used to be".18 And at her performance of the same opera in London in 1957 (her first performance at Covent Garden after the weight loss), critics again felt her voice had changed for the better, that it had now supposedly become a more precise instrument, with a new focus.18 Many of her most critically acclaimed appearances are from the period 1954–1958 (Norma, La traviata, Sonnambula and Lucia of 1955, Anna Bolena of 1957, Medea of 1958, to name a few). Tito Gobbi, 1970 Callas's close friend and colleague Tito Gobbi thought that her vocal problems all stemmed from her state of mind: In support of Gobbi's assertion, a bootleg recording of Callas rehearsing Beethoven's aria "Ah! Perfido" and parts of Verdi's La forza del destino shortly before her death shows her voice to be in much better shape than much of her 1960s recordings and far healthier than the 1970s concerts with Giuseppe Di Stefano.19 Soprano Renée Fleming has stated that videos of Callas in the late 1950s and early 1960s reveal a posture that betrays breath-support problems: However, writing about Dramatic soprano Deborah Voigt in 2006 shortly after her 135 weight loss after gastric bypass surgery, music critic Peter G. Davis brings up comparisons with Callas and notes an increasing acidity and thinning in Voigt's voice that recall the changes in Callas's voice after her weight loss: Voigt herself explained how her dramatic weight loss affected her breathing and breath support: Callas herself attributed her problems to a loss of confidence brought about by a loss of breath support, even though she does not make the connection between her weight and her breath support. In an April 1977 interview with journalist Philippe Caloni, she stated, And shortly before her death, Callas confided her own thoughts on her vocal problems to Peter Dragadze: Whether Callas's vocal decline was due to ill health, early menopause, over-use and abuse of her voice, loss of breath-support, loss of confidence, or weight loss will continue to be debated. Whatever the cause may have been, her singing career was effectively over by age 40, and even at the time of her death at age 53, according to Walter Legge, "she ought still to have been singing magnificently".30 Fussi and Paolillo reportedit A 2010 study by Italian vocal researchers Franco Fussi and Nico Paolillo revealed Callas was very ill at the time of her death and her illness was related to her vocal deterioration. According to their findings, presented at the University of Bologna in 2010, Callas had dermatomyositis, a disease that causes a failure of the muscles and tissues, including the larynx. They believe she was showing signs of this disease as early as the 1960s. Fussi and Paolillo cite an initial report by physician Mario Giacovazzo, who in 2002 revealed he had diagnosed Callas with dermatomyositis in 1975. Treatment includes corticosteroids and immunosuppressive agents, which affect heart function. Callas's death from heart failure may have been related to the disease or to the medicine she took for it. At an event hosted by the journal Il Saggiatore Musicale, Fussi and Paolillo presented documentation showing when and how her voice changed over time. Using modern audio technology, they analyzed live Callas studio recordings from the 1950s through the 1970s, looking for signs of deterioration. Spectrographic analysis showed that she was losing the top half of her range. Fussi observed video recordings in which Callas's posture seemed strained and weakened. He felt that her drastic weight loss in 1954 further contributed to reduced physical support of her voice. Fussi and Paolillo also examined restored footage of the infamous 1958 Norma "walkout" in Rome, which led to harsh criticism of Callas as a temperamental superstar. By applying spectrographic analysis to film from that night's performance, the researchers observed her voice was tired and she lacked control. She really did have the bronchitis and tracheitis she claimed, and the dermatomyositis was already causing her muscles to deteriorate.61 Scandals and later careeredit Renata Scotto, 2009 Pier Paolo Pasolini, director of the film of''Medea'' The latter half of Callas's career was marked by a number of scandals. Following a performance of Madama Butterfly in Chicago, Callas was confronted by a process server who handed her papers about a lawsuit brought by Eddy Bagarozy, who claimed he was her agent. Callas was photographed with her mouth turned in a furious snarl. The photo was sent around the world and gave rise to the myth of Callas as a temperamental prima donna and a "Tigress". In 1956, just before her debut at the Metropolitan Opera, Time ran a damaging cover story about Callas, with special attention paid to her difficult relationship with her mother and some unpleasant exchanges between the two. In 1957, Callas was starring as Amina in La sonnambula at the Edinburgh International Festival with the forces of La Scala. Her contract was for four performances, but due to the great success of the series, La Scala decided to put on a fifth performance. Callas told the La Scala officials that she was physically exhausted and that she had already committed to a previous engagement, a party thrown for her by her friendElsa Maxwell in Venice. Despite this, La Scala announced a fifth performance, with Callas billed as Amina. Callas refused to stay and went on to Venice. Despite the fact that she had fulfilled her contract, she was accused of walking out on La Scala and the festival. La Scala officials did not defend Callas or inform the press that the additional performance was not approved by Callas. Renata Scotto took over the part, which was the start of her international career. In January 1958, Callas was to open the Rome Opera House season with Norma, with Italy's president in attendance. The day before the opening night, Callas alerted the management that she was not well and that they should have a standby ready. She was told "No one can double Callas".13 After being treated by doctors, she felt better on the day of performance and decided to go ahead with the opera.10 A surviving bootleg recording of the first act reveals Callas sounding ill.19 Feeling that her voice was slipping away, she felt that she could not complete the performance, and consequently, she cancelled after the first act. She was accused of walking out on the president of Italy in a fit of temperament, and pandemonium broke out. Doctors confirmed that Maria had bronchitis and tracheitis, and the President's wife called to tell her they knew she was sick. However, they made no statements to the media, and the endless stream of press coverage aggravated the situation.16 A newsreel included file footage of Callas from 1955 sounding well, intimating the footage was of rehearsals for the Rome Norma, with the voiceover narration, "Here she is in rehearsal, sounding perfectly healthy", followed by "If you want to hear Callas, don't get all dressed up. Just go to a rehearsal; she usually stays to the end of those."62 The scandal became notorious as the "Rome Walkout". Callas brought a lawsuit against the Rome Opera House, but by the time the case was settled thirteen years later and the Rome Opera was found to be at fault for having refused to provide an understudy,42 Callas's career was already over. Callas's relationship with La Scala had also started to become strained after the Edinburgh incident, and this effectively severed her major ties with her artistic home. Later in 1958, Callas and Rudolf Bing were in discussion about her season at the Met. She was scheduled to perform in Verdi's La traviata and in Macbeth, two very different operas which almost require totally different singers. Callas and the Met could not reach an agreement, and before the opening of Medea in Dallas, Bing sent a telegram to Callas terminating her contract. Headlines of "Bing Fires Callas" appeared in newspapers around the world.7 Maestro Nicola Rescigno later recalled, "That night, she came to the theater, looking like an empress: she wore an ermine thing that draped to the floor, and she had every piece of jewellery she ever owned. And she said, 'You all know what's happened. Tonight, for me, is a very difficult night, and I will need the help of every one of you.' Well, she proceeded to give a performance [of Medea] that was historical."63 Maria Callas and Tito Gobbi, Act 2, Tosca,Royal Opera House, London, February 1964 Bing later said that Callas was the most difficult artist he ever worked with, "because she was so much more intelligent. Other artists, you could get around. But Callas you could not get around. She knew exactly what she wanted, and why she wanted it."13 Despite this, Bing's admiration for Callas never wavered, and in September 1959, he sneaked into La Scala in order to listen to Callas record La Gioconda for EMI.7 Callas and Bing reconciled in the mid 1960s, and Callas returned to the Met for two performances of Tosca with her friend Tito Gobbi. In her final years as a singer, she sang in Medea, Norma, and Tosca, most notably her Paris, New York, and London Toscas of January–February 1964, and her last performance on stage, on July 5, 1965, at Covent Garden. A live television transmission of Act 2 of the Covent Garden Tosca of 1964 was broadcast in Britain on February 9, 1964, giving a rare view of Callas in performance and, specifically, of her on-stage collaboration with Tito Gobbi. This has now been preserved on DVD. Maria Callas during her final tour in Amsterdam in 1973 In 1969, the Italian filmmaker Pier Paolo Pasolini cast Callas in her only non-operatic acting role, as the Greek mythological character of Medea, in his film by that name. The production was grueling, and according to the account in Ardoin's Callas, the Art and the Life, Callas is said to have fainted after a day of strenuous running back and forth on a mudflat in the sun. The film was not a commercial success, but as Callas's only film appearance, it documents her stage presence. From October 1971 to March 1972, Callas gave a series of master classes at the Juilliard School in New York. These classes later formed the basis of Terrence McNally's 1995 play Master Class. Callas staged a series of joint recitals in Europe in 1973 and in the U.S., South Korea, and Japan in 1974 with the tenorGiuseppe Di Stefano. Critically, this was a musical disaster owing to both performers' worn-out voices.7 However, the tour was an enormous popular success. Audiences thronged to hear the two performers, who had so often appeared together in their prime. Her final public performance was on November 11, 1974, in Sapporo, Japan. Onassis and the final yearsedit Aristotle Onassis In 1957, while still married to husband Giovanni Battista Meneghini, Callas was introduced to Greek shipping magnate Aristotle Onassis at a party given in her honor by Elsa Maxwell after a performance inDonizetti's Anna Bolena.10 The affair that followed received much publicity in the popular press, and in November 1959, Callas left her husband. Michael Scott asserts that Onassis was not why Callas largely abandoned her career, but that he offered her a way out of a career that was made increasingly difficult by scandals and by vocal resources that were diminishing at an alarming rate.10 Franco Zeffirelli, on the other hand, recalls asking Callas in 1963 why she had not practiced her singing, and Callas responding that "I have been trying to fulfill my life as a woman."13 According to one of her biographers, Nicholas Gage, Callas and Onassis had a child, a boy, who died hours after he was born on March 30, 1960.64 In his book about his wife, Meneghini states categorically that Maria Callas was unable to bear children.65As well, various sources dismiss Gage's claim, as they note that the birth certificates Gage used to prove this "secret child" were issued in 1998, twenty-one years after Callas's death.66 Still other sources claim that Callas had at least one abortion while involved with Onassis.67 In 1966, Callas renounced her U.S. citizenship at the American Embassy in Paris, to facilitate the end of her marriage to Meneghini.468 This was because after her renunciation, she was only a Greek citizen, and under Greek law a Greek could only legally marry in a Greek Orthodox church. As she had married in a Roman Catholic church, this divorced her in every country except Italy. The renunciation also helped her finances, as she no longer had to pay US taxes on her income. The relationship ended two years later in 1968, when Onassis left Callas in favor of Jacqueline Kennedy. However, the Onassis family's private secretary, Kiki, writes in her memoir that even while Aristotle was with Jackie, he frequently met up with Maria in Paris, where they resumed what had now become a clandestine affair.64 The last residence of Maria Callas in Paris Callas spent her last years living largely in isolation in Paris and died at age 53 on September 16, 1977, of a heart attack. A funerary liturgy was held at Agios Stephanos (St. Stephen's) Greek Orthodox Cathedral on rue Georges-Bizet, Paris, on September 20, 1977. She later was cremated at the Père Lachaise Cemetery and her ashes were placed in the columbarium there. After being stolen and later recovered, in the spring of 1979 they were scattered over the Aegean Sea, off the coast of Greece, according to her wish. During a 1978 interview, upon being asked "Was it worth it to Maria Callas? She was a lonely, unhappy, often difficult woman," music critic and Callas's friend John Ardoin replied, Legacyedit Portrait of Maria Callas painted by Oleg Karuvits in 2004 Franco Zeffirelli, 1978 In 1998, a photo of Maria Callas was part of the poster series commissioned by Apple Computer for their "Think different" advertising campaign. Previously she was shown in the commercial. In late 2004, opera and film director Franco Zeffirelli made what many consider a bizarre claim that Callas may have been murdered by her confidant, Greek pianist Vasso Devetzi, in order to gain control of Callas's United States $9,000,000 estate. A more likely explanation is that Callas's death was due to heart failure brought on by (possibly unintentional) overuse of Mandrax (methaqualone), a sleeping aid. According to biographer Stelios Galatopoulos, Devetzi insinuated herself into Callas's trust and acted virtually as her agent. This claim is corroborated by Iakintha (Jackie) Callas in her book Sisters,70 wherein she asserts that Devetzi conned Maria out of control of half of her estate, while promising to establish the Maria Callas Foundation to provide scholarships for young singers. After hundreds of thousands of dollars had allegedly vanished, Devetzi finally did establish the foundation. In 2002, filmmaker Zeffirelli produced and directed a film in Callas's memory. Callas Forever was a highly fictionalized motion picture in which Callas was played by Fanny Ardant. It depicted the last months of Callas's life, when she was seduced into the making of a movie of Carmen, lip-synching to her 1964 recording of that opera. Terrence McNally's play Master Class, which premiered in 1995, presents Callas as a glamorous, commanding, larger-than-life, caustic, and surprisingly drop-dead funny pedagogue holding a voice master class. Alternately dismayed and impressed by the students who parade before her, she retreats into recollections about the glories of her own life and career, culminating in a monologue about sacrifice taken for art. Several selections of Callas actually singing are played during the recollections. In 2007, Callas was posthumously awarded the Grammy Lifetime Achievement Award. In the same year, she was voted the greatest soprano of all time by BBC Music Magazine. The 30th anniversary of the death of Maria Callas was selected as the main motif for a high value euro collectors' coin: the €10 Greek Maria Callas commemorative coin, minted in 2007. Her image is shown in the obverse of the coin, while on the reverse the National Emblem of Greece with her signature is depicted. On December 2, 2008, on the 85th anniversary of Callas's birth, a group of Greek and Italian officials unveiled a plaque in her honor at Flower Hospital (now the Terence Cardinal Cooke Health Care Center) where she was born. Made of Carrara marble and engraved in Italy, the plaque reads, "Maria Callas was born in this hospital on December 2, 1923. These halls heard for the first time the musical notes of her voice, a voice which has conquered the world. To this great interpreter of universal language of music, with gratitude."71 Gus Van Sant's 2008 film Milk features selected recordings of Callas's rendition of Tosca, which, it is suggested, was an opera of which Harvey Milk was particularly fond. Similarly, Jonathan Demme's 1993 movie Philadelphia features a recording by Callas. The 2011 film The Iron Lady, about former British Prime Minister Margaret Thatcher, includes a recording of Callas singing Norma's famous aria, "Casta Diva". In 2012, Callas was voted into Gramophone Magazine's Hall of Fame.72 A number of musical artists including Anna Calvi, Linda Ronstadt, Patti Smith and Emmylou Harris have mentioned Callas as a great musical influence,737475 and some have paid tribute to Callas in their music: * R.E.M. mention Callas in their song "E-Bow the Letter" from the album New Adventures in Hi-Fi. * Enigma released the instrumental "Callas Went Away" using samples of Callas's voice, on their 1990 album MCMXC a.D.. * Buffalo Tom's 2007 album Three Easy Pieces contains the song "C.C. and Callas", which appears to be about songwriter Chris Colbourn's reflections on Callas. * The Fatima Mansions's 1994 release Lost in the Former West featured the single "The Loyaliser", where a passing reference is made to Callas. * La Diva, on Celine Dion's 2007 French language album D'elles is about Maria Callas. The track samples the 1956 recording of La bohème. * Singer/songwriter Rufus Wainwright mentions Callas in his song "Beauty Mark", from his album Rufus Wainwright. Wainwright is known to be an opera fan, particularly passionate about Callas's work. In an interview to the Spanish newspaper''El País'', he declared that one of the things anyone should do at least once in a lifetime was to listen to a Maria Callas album after a night out, if possible during sunrise. On Jonathan Ross's BBC Radio 2 show he stated that Lord Harewood's interview of Callas is part of the inspiration for his opera Prima Donna. * Jason Mraz lists her performance of "O mio babbino caro" as a romantic musical influence for him.76 * Her recording of "O mio babbino caro" is also heard in a 2010 UBS commercial featuring unique people from recent history. * Ben Sollee mentions her in his song "Mute with a Bullhorn." * The Mountain Goats mention Callas in their song "Horseradish Road" from the album The Coroner's Gambit. * Tom Stoppard's 1982 play The Real Thing includes the line, 'I was taken once to Covent Garden to hear a woman called Callas in a sort of foreign musical with no dancing which people were donating kidneys to get tickets for... Not even close. That woman would have had a job getting into the top thirty if she was hyped.' * She can be heard singing selections from Norma at several points in Lorenzo's Oil. * Google honored Callas on her 90th birthday by showing her in a Doodle on December 2, 2013.77 Notable recordingsedit All recordings are in mono unless otherwise indicated. Live performances are typically available on multiple labels. In 2014, Callas' label EMI Classics (now Warner Classics) released the Maria Callas Remastered Edition: her complete studio recordings totaling 39 albums in a boxed set remastered at Abbey Road Studios in 24-bit/96 kHz from her original tapes. Maria Callas as Abigaille, Naples 1949 * Verdi, Nabucco, conducted by Vittorio Gui, live performance, Napoli, December 20, 1949 * Verdi, Il trovatore, conducted by Guido Picco, live performance, Mexico City, June 20, 1950. In the aria 'D'amor sull'ali rosee', Callas sings Verdi's original high D flat, likewise in her 1951 San Carlo performance. * Wagner, Parsifal, live performance conducted by Vittorio Gui, RAI Rome, 1950 * Verdi, Il trovatore, live performance conducted by Tullio Serafin, Teatro San Carlo, Naples, 1951 * Verdi, Aida, conducted by Oliviero De Fabritiis, live performance, Palacio de Bellas Artes, Mexico City, July 3, 1951 * Verdi, I vespri siciliani, live performance conducted by Erich Kleiber, Teatro Comunale, Florence, 1951 * Cherubini, Medea, live performance conducted by Vittorio Gui, Teatro Comunale, Florence, 1952 * Ponchielli, La Gioconda, conducted by Antonino Votto, studio recording for Fonit Cetra, September 1952 * Bellini, Norma, conducted by Vittorio Gui, live performance, Covent Garden, London, November 18, 1952 * Verdi, Macbeth, conducted by Victor de Sabata, live performance, La Scala, Milan, December 7, 1952 * Verdi Il trovatore, live performance conducted by Votto, La Scala 1953 * Bellini, I puritani, conducted by Tullio Serafin, studio recording for EMI, March–April 1953 * Rossini, Armida, live performance, Teatro Comunale, Florence, Serafin, 1952 * Mascagni, Cavalleria rusticana, conducted by Tullio Serafin, studio recording for EMI, August 1953 * Puccini, Tosca (Sabata recording), conducted by Victor de Sabata, studio recording for EMI, August 1953.78 * Verdi, La traviata, conducted by Gabriele Santini, studio recording for Fonit Cetra, September 1953 * Cherubini, Medea, conducted by Leonard Bernstein, live performance, La Scala, Milan, December 10, 1953 * Leoncavallo, Pagliacci, conducted by Tullio Serafin, studio recording for EMI, June 1954 * Rossini, Il turco in Italia, conducted by Gianandrea Gavazzeni, studio recording for EMI, August–September 1954 * Spontini, La vestale, conducted by Antonino Votto, live performance, La Scala, Milan, December 7, 1954 * Gluck, Alceste, La Scala, Milan, Giulini, 1954 * Verdi, La traviata, conducted by Carlo Maria Giulini, live performance, La Scala, Milan, May 28, 1955 * Puccini, Madama Butterfly, conducted by Herbert von Karajan, studio recording for EMI, August 1955 * Verdi, Aida, conducted by Tullio Serafin, studio recording for EMI, August 1955 * Verdi, Rigoletto, conducted by Tullio Serafin, studio recording for EMI, September 1955 * Donizetti, Lucia di Lammermoor, conducted by Herbert von Karajan, live performance, Berlin, September 29, 1955 * Bellini, Norma, conducted by Antonino Votto, live performance, La Scala, Milan, December 7, 1955. * Verdi, Il trovatore, conducted by Herbert von Karajan, studio recording for EMI, August 1956 * Puccini, La bohème, conducted by Antonino Votto, studio recording for EMI, August–September 1956. Like her later recording of Carmen, this was her only performance of the complete opera, as she never appeared onstage in it. * Verdi, Un ballo in maschera, conducted by Antonino Votto, studio recording for EMI, September 1956 * Rossini, The Barber of Seville, conducted by Alceo Galliera, studio recording for EMI in stereo, February 1957 * Bellini, La sonnambula, conducted by Antonino Votto, studio recording for EMI, March 1957 * Gluck, Iphigénie en Tauride, La Scala, Sanzogno, 1957 * Donizetti, Anna Bolena, conducted by Gianandrea Gavazzeni, live performance, La Scala, Milan, April 14, 1957 * Bellini, La sonnambula, conducted by Antonino Votto, live performance, Cologne, July 4, 1957 Callas as Amina in La sonnambula * Puccini, Turandot, conducted by Tullio Serafin, studio recording for EMI, July 1957 * Cherubini, Medea, conducted by Tullio Serafin, studio recording for Ricordi in stereo, September 1957 * Verdi, Un ballo in maschera, conducted by Gianandrea Gavazzeni, live performance, La Scala, Milan, December 7, 1957 * Verdi, La traviata, conducted by Franco Ghione, live performance, Lisbon, March 27, 1958 * Mad Scenes (excerpts from Anna Bolena, Bellini's Il pirata and Ambroise Thomas's Hamlet), conducted by Nicola Rescigno, studio recording for EMI in stereo, September 1958 * Cherubini, Medea conducted by Nicola Rescigno, live performance at the Dallas Civic Opera in 1958; considered to be Callas's most notable performance of Cherubini's opera. * Ponchielli, La Gioconda, conducted by Antonino Votto, studio recording for EMI in stereo, September 1959 * Puccini, Tosca, conducted by Carlo Felice Cillario, live performance, London, January 1964 * Bizet, Carmen, conducted by Georges Prêtre, studio recording for EMI in stereo, 1964. It is her only performance of the role, and her only performance of the complete opera; she never appeared in it onstage. The recording used the recitatives added after Bizet's death. Callas's performance caused critic Harold C. Schonberg to speculate in his book The Glorious Ones that Callas perhaps should have sung mezzo roles instead of simply soprano ones. * Puccini, Tosca, conducted by Georges Prêtre, studio recording for EMI in stereo, December 1964. Category:1923 births Category:1977 deaths